https://amalialindo.com Amalia Lindo Sun, 20 Sep 2026 18:55:50 +0000 https://amalialindo.com en https://amalialindo.com/Upcoming-Information Thu, 15 Feb 2024 08:14:04 +0000 Amalia Lindo https://amalialindo.com/Upcoming-Information &nbsp; <img width="1708" height="2560" width_o="1708" height_o="2560" data-src="https://freight.cargo.site/t/original/i/8979167005ce44449b961b61b0c3522a6ccab9dcbb2fca413055be9e81414c15/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-1904.jpg" data-mid="252346967" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/8979167005ce44449b961b61b0c3522a6ccab9dcbb2fca413055be9e81414c15/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-1904.jpg" /> Current: 2026 National Photography Prize&nbsp;Murray Art Museum Albury New South Wales, Australia 8th August - 22nd November 2026 https://amalialindo.com/Videos Thu, 15 Feb 2024 08:14:05 +0000 Amalia Lindo https://amalialindo.com/Videos &nbsp; https://amalialindo.com/Press Thu, 15 Feb 2024 08:14:05 +0000 Amalia Lindo https://amalialindo.com/Press Blindside <img width="1125" height="750" width_o="1125" height_o="750" data-src="https://freight.cargo.site/t/original/i/a92ee8a878bbbfb0c97efc498fab2efe8dec4a2abd94ac3fd6152d4a9d293f0f/BS_7.JPG" data-mid="204683747" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/a92ee8a878bbbfb0c97efc498fab2efe8dec4a2abd94ac3fd6152d4a9d293f0f/BS_7.JPG" /> This might just pass the time by Annabel Brown• Exhibition Essay for This Might Just Pass the Time&nbsp;at Blindside • December 2023 | Digital only | • Click here to read •“This project takes the film theorist’s Leo Charney’s notion of the ‘drift’ as a point of departure to build upon this notion and to work around this central question: how does the drift materialise in today’s technological disposition? Charney envisions the drift as an “ungovernable, mercurial activity,” teeming with possibilities and heterogenous in tone, drift enables one to sense the vertigo-laden uncertainty of the present.” Art + Australia <img width="859" height="721" width_o="859" height_o="721" data-src="https://freight.cargo.site/t/original/i/7b96c34d6e244393fb0a96b8cbd60660001481a4a14a3d39a17220d4e276bb64/Screen-Shot-2023-12-04-at-5.27.52-pm.png" data-mid="204683746" border="0" data-scale="55" src="https://freight.cargo.site/w/859/i/7b96c34d6e244393fb0a96b8cbd60660001481a4a14a3d39a17220d4e276bb64/Screen-Shot-2023-12-04-at-5.27.52-pm.png" /> Telltale Signs: From Observer to Algorithm by Tim Hall • Art+Australia • Issue 59 | Digital only | • Click here to read •“ I attempted to take in Telltale as an unbiased blank slate, but I failed. I now realise that in the same way Google’s neural network algorithm DeepDream sees eyes and dogs in every unknown pixel, I see what I am trained to see. I could not put aside my programming. I am running an operating system developed over centuries, patched and updated by ongoing community feedback. I am a machine, learning. ” Artlink Magazine <img width="421" height="552" width_o="421" height_o="552" data-src="https://freight.cargo.site/t/original/i/76353126b8eda647d1cf16874b708997d17293ab472ff2e0c4c8a7b8aa22d8d1/Screen-Shot-2023-12-04-at-5.23.28-pm.png" data-mid="204683744" border="0" data-scale="39" src="https://freight.cargo.site/w/421/i/76353126b8eda647d1cf16874b708997d17293ab472ff2e0c4c8a7b8aa22d8d1/Screen-Shot-2023-12-04-at-5.23.28-pm.png" /> City of the gimmick: AI at Melbourne Now by Cameron Hurst • Artlink Magazine • Issue 43:2 | pg. 60-69 | Print and digital | • Click here to read •“ In Telltale, Lindo opens the box. All the videos in the work are sourced via MTurk. Rather than following the lead of Amazon, which purposely alienates Requesters from Turkers, and Turkers from each other, the artwork prompts the viewer to see Turkers as unique individuals with vivid life-worlds. The artwork makes an invisible, global, networked labour force visible, revealing the Turkers’ banal surrounds and staging connections between them.” Artist Profile <img width="591" height="591" width_o="591" height_o="591" data-src="https://freight.cargo.site/t/original/i/ecb93dea4aae96751b98181050a13b48733a66b8afb73193e2d800a11d7ccc80/Screen-Shot-2023-12-04-at-5.04.01-pm.png" data-mid="204683742" border="0" data-scale="55" src="https://freight.cargo.site/w/591/i/ecb93dea4aae96751b98181050a13b48733a66b8afb73193e2d800a11d7ccc80/Screen-Shot-2023-12-04-at-5.04.01-pm.png" /> Awkward Visions: Melbourne Now&nbsp; by Roslyn Orlando • Artist Profile Magazine • Issue 63 | pg. 150-153 | Print and digital |&nbsp; • Click here to read •“The overall effect is of being subsumed in a matrix of simultaneous, flowing content, a construction of the world that has been organised with a logic that can only be glimpsed monetarily, in small pieces by the viewer. This disembodied sensation sparks questions of the who, what, and where of each video. How have they been sourced, organised, and disseminated? As a collective body of data, what are they telling us?” Memo Review <img width="3003" height="2003" width_o="3003" height_o="2003" data-src="https://freight.cargo.site/t/original/i/eb46d851653587c7919e5c93fa85ecd66e91c226adfd78adbdf1c3fd84e245d4/Amalia-Lindo_4.jpg" data-mid="204683739" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/eb46d851653587c7919e5c93fa85ecd66e91c226adfd78adbdf1c3fd84e245d4/Amalia-Lindo_4.jpg" /> Melbourne Now by Giles Fielke • Memo Review • Digital only | • Click here to read •“Amalia Lindo’s staggering showing of a circular ring of vertically installed screens displaying 1820 subcontracted worker submissions, Telltale: Economies of Time (2022–23) is as impressive and serious as Nick Mangan’s Core Coralations (2023), a monumental (video) work about coral bleaching and bioluminescence on that massive metonym for our exhausted environment, the Great Barrier Reef. Both are considerable commissions for the NGV.” Memo Review <img width="837" height="609" width_o="837" height_o="609" data-src="https://freight.cargo.site/t/original/i/aa2b10c69defe1d2a5f468278bb6c78964cd34d391b12ba4733245fd0e346042/Screen-Shot-2023-04-18-at-7.28.03-am.png" data-mid="204683734" border="0" data-scale="79" src="https://freight.cargo.site/w/837/i/aa2b10c69defe1d2a5f468278bb6c78964cd34d391b12ba4733245fd0e346042/Screen-Shot-2023-04-18-at-7.28.03-am.png" /> Melbourne Now&nbsp; by Cameron Hurst • Memo Review • Digital only | • Click here to read •“Amalia Lindo’s Telltale: Economies of Time (2022–23) is a more impressive version of a four-screen work shown at the Spring1883 art fair in 2021. Here, we step into a panopticon-like structure of twelve vertical screens attached to steel beams.” NGV Magazine <img width="834" height="633" width_o="834" height_o="633" data-src="https://freight.cargo.site/t/original/i/c419c2e16ee26ce0a0fb35a5d4e883c6706f355c2fc7ea4fd90e167208b1b82d/Screen-Shot-2023-03-15-at-3.31.31-pm.png" data-mid="204683731" border="0" data-scale="71" src="https://freight.cargo.site/w/834/i/c419c2e16ee26ce0a0fb35a5d4e883c6706f355c2fc7ea4fd90e167208b1b82d/Screen-Shot-2023-03-15-at-3.31.31-pm.png" /> Art in the [Post-] Digital Age by Harriet Flavel • NGV Magazine • March/April 2023 issue 39 | pg. 60-63 | Print and digital |&nbsp;&nbsp;• Click here to read&nbsp;•“Technology has changed and is changing art, but are we ready to embrace it? In this Deep Read, we explore the influence of the digital through works from Melbourne Now.” Art Guide Australia&nbsp; <img width="1976" height="2798" width_o="1976" height_o="2798" data-src="https://freight.cargo.site/t/original/i/b9d36c775e7780f188072be5ab8410a33086af1b3e1c5b2e7cbc4f21df5c07ff/artguide1.jpg" data-mid="204683694" border="0" data-scale="39" src="https://freight.cargo.site/w/1000/i/b9d36c775e7780f188072be5ab8410a33086af1b3e1c5b2e7cbc4f21df5c07ff/artguide1.jpg" /> Telltale: Economies of Timeby Amalia Lindo• Art Guide Australia • March/April 2023 issue 39 | pg. 86 | Print and digital | • Click here to read • “As a durational and collective exercise, this project operates as a tell-tale for the&nbsp;evolution&nbsp;of&nbsp;the&nbsp;algorithm—an economic process that has divided human time, space and labour throughout&nbsp;recent&nbsp;history.” SPHERE <img width="581" height="828" width_o="581" height_o="828" data-src="https://freight.cargo.site/t/original/i/27b741b0261c0608075dbb31bb3bbfab1c94122855655c82f90a48429374730a/SPHERE-COVER.png" data-mid="204683696" border="0" data-scale="39" src="https://freight.cargo.site/w/581/i/27b741b0261c0608075dbb31bb3bbfab1c94122855655c82f90a48429374730a/SPHERE-COVER.png" /> Issue No. 3&nbsp;ed. Justin Andrews &amp; Kyle Jenkins• SPHERE • No. 3 2022 • Thermally bound artist book • Edition of 20 + 2xA/P • Printed, collated, bound and trimmed by hand on Dja Dja Wurrung Country | 104 pages | 21 x 29.7cm | Print only |• Issue Contributors&nbsp;• Vicente Butron | Michael Boelt Fischer | Melinda Harper | Amalia Lindo | Russell Maltz | Guido Münch | Victoria Munro | Elizabeth Newman | David Thomas | Jens Wolf&nbsp;• Editors • Justin Andrews | Kyle Jenkins City of Melville &nbsp; <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/078a8a680e92807e669d8b400f19bba01cde7652cf14dee2652f748970cb824d/digital-art-prize.jpeg" data-mid="204683700" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/078a8a680e92807e669d8b400f19bba01cde7652cf14dee2652f748970cb824d/digital-art-prize.jpeg" /> Media Releaseby City of Melville, Western Australia• Media Release for the City of Melville and Goolugatup Heathcote’s National Digital Art Prize • September 2022 | Digital only | • Click here to read • “Blurring the lines between work and consumption, artist Amalia Lindo has taken home first prize in the Digital Art Prize with her work Two Marionettes Collide.” Fremantle Herald &nbsp; <img width="432" height="702" width_o="432" height_o="702" data-src="https://freight.cargo.site/t/original/i/c4a74383cbf1d18a977aeafefe4c67b4b3b56822b63222194267f15819c1b2f2/Screen-Shot-2023-03-15-at-11.11.32-am.png" data-mid="204683704" border="0" data-scale="37" src="https://freight.cargo.site/w/432/i/c4a74383cbf1d18a977aeafefe4c67b4b3b56822b63222194267f15819c1b2f2/Screen-Shot-2023-03-15-at-11.11.32-am.png" /> Human Victoryby Dhanya Vimalan• Fremantle Herald | Herald Arts&nbsp;• 7 October 2022 •&nbsp; Interview with Fremantle Herald for the City of Melville and Goolugatup Heathcote’s National Digital Art Prize | Print and digital | • Click here to read • “My grandfather was a renowned geochemist who in 1969 was one of the co-investigators called upon to age-date the moon samples returned from the Apollo 11 mission,” Lindo says. “He was also an avid collector and he showed me how chosen materials offered infinite possibilities for reinterpretation and presentation, a lesson that has remained important in my artistic practice.” MEMO REVIEW&nbsp; <img width="483" height="694" width_o="483" height_o="694" data-src="https://freight.cargo.site/t/original/i/a959b289e6df8cac2363a26c490f4dc88b08139580f8a50b924f2d764fd553e3/memo2021.jpg" data-mid="204683707" border="0" data-scale="43" src="https://freight.cargo.site/w/483/i/a959b289e6df8cac2363a26c490f4dc88b08139580f8a50b924f2d764fd553e3/memo2021.jpg" /> Spring1883by Audrey Schmidt &amp; Paris Lettau• Memo Review • Issue 5, 8 August 2021 | pg. 166-169 | Print and digital | • Click here to read&nbsp;•“The three-hundred online workers commissioned by Lindo respond to the Human Intelligence Task (HITs) by submitting short videos of personal significance from their mobile phone archives. Edited by Lindo into four video installations, the liquid-crystal display panels each sit between acrylic perspex held upright by wavy, manipulated stainless steel tubes. As the title suggests, these works ground and solidify the illusive, gaseous “cloud” with all the real-life physicality of server centre geopolitics and human captchas.” The Image Looks Back &nbsp; <img width="508" height="780" width_o="508" height_o="780" data-src="https://freight.cargo.site/t/original/i/895319ebe3066f9330a1a9361bc5c9aa8aa4d911cdba7a886326a7bc47f43410/Screen-Shot-2023-03-15-at-12.16.11-pm.png" data-mid="204683706" border="0" data-scale="40" src="https://freight.cargo.site/w/508/i/895319ebe3066f9330a1a9361bc5c9aa8aa4d911cdba7a886326a7bc47f43410/Screen-Shot-2023-03-15-at-12.16.11-pm.png" /> Exhibition Catalogueby RMIT Gallery• The Image Looks Back Digital Catalogue&nbsp;• Catalogue Essay by Rebecca Najowski | Graphic Design: Sean Hogan | Catalogue Coordinators: Helen Rayment &amp; Theo Nguyen | Catalogue Photography: Mark Ashkanasy • Published by RMIT Gallery | March 2021&nbsp; | pg. 20-21 | Digital only | &nbsp; • Click here to read • “There are brief moments where we see a miniature toy flip-phone or the hands of young boys grappling over a dated mobile phone. Their presence is suggestive of how these devices are the connective tissue between the loose and messy human operators and the precise automation of algorithms. The content of Two Marionettes Collide, and its digital and physical materiality, speaks to how humans must contend with the contours of everyday activities merging with computational image terrains.” Constant Ecology &nbsp; <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3a0596595d50c8d9cb20c71f62a0cfc101a6f0f74675d06089a18bb630235818/constant-ecology.jpeg" data-mid="204683709" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/3a0596595d50c8d9cb20c71f62a0cfc101a6f0f74675d06089a18bb630235818/constant-ecology.jpeg" /> InterviewChloé Hazelwood &amp; Amalia Lindo• Constant Ecology Residency Program | Initiated by&nbsp;BLINDSIDE, CAVES, KINGS Artist-Run and West Space • Interview with Chloé Hazelwood | 2020 | Digital only | • Click here to read • “When the pandemic was declared and people around the world started working from home, this project felt particularly urgent as I wanted to provide workers with a task that not only paid a fair wage but was also engaging and asked them to share an experience from their own life.” Centre for ContemporaryPhotography&nbsp; <img width="1417" height="2126" width_o="1417" height_o="2126" data-src="https://freight.cargo.site/t/original/i/3245c1818191a10b052b1bcd0544193ac046f0407963dbbce0e5b2211cf9a1d9/Amalia-Lindo---Computer-Shoulders---CCP-086.jpg" data-mid="204683715" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/3245c1818191a10b052b1bcd0544193ac046f0407963dbbce0e5b2211cf9a1d9/Amalia-Lindo---Computer-Shoulders---CCP-086.jpg" /> Full and Empty Gesturesby Daniel von Sturmer• Exhibition Essay for Computer Shoulders at the Centre for Contemporary Photography&nbsp;• April 2019 | Digital only | • Click here to read • “We make gestures toward leaving the shell, courting a future where a self might flow free, but one wonders how far we could really travel. What new gestures could we produce? What new postures could we assume? Who else could we become?” MEMO REVIEW <img width="485" height="703" width_o="485" height_o="703" data-src="https://freight.cargo.site/t/original/i/173efa42a2dd7d9aab597402bdc3281d1c88ba5a3ea3720730e76451201b8f95/memo2019.jpg" data-mid="204683716" border="0" data-scale="41" src="https://freight.cargo.site/w/485/i/173efa42a2dd7d9aab597402bdc3281d1c88ba5a3ea3720730e76451201b8f95/memo2019.jpg" /> Computer Shouldersby Stephen Palmer• Memo Review • Issue 3, 27 April 2019 | pg. 68-71 | Print and digital | • Click here to read •“But what we should observe in this is not a lamentable loss of the sanctity of creative life, but that creative labour always necessarily operates through a program. Lindo reveals the programmatic nature of her own making process. Allowing a further degree of automation does not undermine her artistic prerogative but introduces possibilities in the selection and employment of footage that could otherwise only be discovered through an impossibly long process of viewing and experimentation.” Cathedral Cabinet <img width="603" height="878" width_o="603" height_o="878" data-src="https://freight.cargo.site/t/original/i/4b9ecb877a6ed87e8521652fe72933119cd93bd51e69d15ce5872833c08f3718/Screen-Shot-2023-03-15-at-2.56.35-pm.png" data-mid="204683721" border="0" data-scale="44" src="https://freight.cargo.site/w/603/i/4b9ecb877a6ed87e8521652fe72933119cd93bd51e69d15ce5872833c08f3718/Screen-Shot-2023-03-15-at-2.56.35-pm.png" /> The matter admits of no explanationby Kara Baldwin• Self published artist book for the exhibition&nbsp;The matter admits of no explanation at&nbsp;Cathedral Cabinet • October 2018 •&nbsp; Edition of 50 + 2 A/P&nbsp; | 8 pages | 14.8 x 21 cm | Print and digital | • Click here to read •“ We will turn our bodies, manipulate our shoulders, turn our heads, and follow. We may think we have the advantage, It is safer to believe in the false reign of control. The internet has changed. The humans have changed. Intelligence is but a state of being, not a state of mind. The only constant is change. The matter admits of no explanation. Alas, the day the computer talks through abstraction; we have given it cognitive multiplicity. Or enabled enough algorithms for it to potentially weigh in on the question of ethics.” Federation Square <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a31b8e39e3c2f643ca2980359539e1995291a03e34d7addf208fbca743857fa4/concrete-air.jpg" data-mid="204683726" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/a31b8e39e3c2f643ca2980359539e1995291a03e34d7addf208fbca743857fa4/concrete-air.jpg" /> un viral momentsby Tamsin Green• Exhibition Essay for Concrete Air&nbsp;at Federation Square | BLINDSIDE • September 2017 | Digital only | • Click here to read •“In her selection of fragments, Lindo was guided by the videos’ nominal timestamps. These films were not significant enough to be named by their authors. Instead, the fragments are identified by the date they were uploaded. The time marker has allowed the artist to follow the current moment, a vanishing present, as each day delivers fresh material.” c3 Contemporary Art Space <img width="602" height="881" width_o="602" height_o="881" data-src="https://freight.cargo.site/t/original/i/0b5eccfa982ddb5f7396a8dadfeebb8270d59ff30d13d8617d5e3741ebb7d3ef/Screen-Shot-2023-03-15-at-3.27.50-pm.png" data-mid="204683729" border="0" data-scale="39" src="https://freight.cargo.site/w/602/i/0b5eccfa982ddb5f7396a8dadfeebb8270d59ff30d13d8617d5e3741ebb7d3ef/Screen-Shot-2023-03-15-at-3.27.50-pm.png" /> A Catastrophe that Never Comesby Katie Paine• Exhibition Essay for Elast(i)city&nbsp;at c3 Contemporary Art Space&nbsp; • June 2017 | Digital only | • Click here to read •“It looks like everything is obscured by a lens. Like an image draped in gauze. Now it begins to bubble - to liquefy. And yet the image is not eradicated... it returns in a series of appalling flashes.” https://amalialindo.com/Exhibitions Thu, 15 Feb 2024 08:14:07 +0000 Amalia Lindo https://amalialindo.com/Exhibitions NATIONAL PHOTOGRAPHY PRIZE both/and Characters Before Now THIS MIGHT JUST PASS THE TIME SPRING1883 ART FAIR Melbourne Now &nbsp;rushes&nbsp; Represented Artists Spring1883 Art Fair Cooking with John The Image Looks Back First Ten Hobiennale Computer Shoulders The matter admits of no explanation Unrepresented Artists Concrete Air Elasticity Receptacle Distinguishing Features https://amalialindo.com/Info-Contact Thu, 15 Feb 2024 08:14:09 +0000 Amalia Lindo https://amalialindo.com/Info-Contact Amalia lives and works on the stolen lands of the the Wurundjeri Woi Wurrung people of the Kulin Nation and pays her respects to Elders past, present and emerging. Sovereignty was never ceded. Represented by Haydens, Naarm/Melbourne (e) info@haydens.gallery (e) info@amalialindo.com︎ @amalialindo Amalia Lindo (b. 1990, United States) is a multi-disciplinary artist based in Naarm/Melbourne. She immigrated to Australia from Harare, Zimbabwe in 2005, and is of Hispanic-American origin. Working across video, sculpture, installation, drawing, and photography, Lindo explores the complex interplay between humans and technology. Her work examines the social and environmental impacts of technological production, with a particular focus on the hidden supply chains that drive emerging technologies through the extraction of data, human labour, and natural resources. In her recent works, Lindo draws on early consumer electronics and gaming to surface the materials, schematics, and behavioural logic that contemporary devices are designed to conceal. Her practice is driven by ideas rather than fixed materials or methods, and frequently involves collaboration with contributors from scientific, creative, and digital labour contexts. Amalia completed a Bachelor of Fine Art (First Class Honours) at Monash University in 2016, where she is a sessional lecturer in the drawing faculty. She was the winner of The Digital Art Prize (2022), and is a current finalist in the National Photography Prize (2026) at Murray Art Museum Albury. She has been a finalist in the Ellen José Art Award (2025), the Wyndham Art Prize (2026), and the Darebin Art Prize (2026), as is the upcoming recipient of the 2027 West Space Commission. <img width="3455" height="3454" width_o="3455" height_o="3454" data-src="https://freight.cargo.site/t/original/i/c44f6f7477f03b2baf580140636de4a6642a4d5648d1455c7cda920280aed499/Amalia-Lindo_Headshot.jpg" data-mid="252205515" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/c44f6f7477f03b2baf580140636de4a6642a4d5648d1455c7cda920280aed499/Amalia-Lindo_Headshot.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; EDUCATION 2016&nbsp; &nbsp; Bachelor of Fine Art (First Class Honours), Monash University 2015&nbsp; &nbsp; Bachelor of Fine Art, Monash University SELECTED SOLO EXHIBITIONS 2027&nbsp; &nbsp; Terraform, West Space, Naarm/Melbourne (forthcoming) 2026&nbsp; &nbsp; Both/And, Haydens, Brunswick East, Naarm/Melbourne&nbsp;2023&nbsp; &nbsp;&nbsp;Before Now, Composite: Moving Image Agency &amp; Media Bank, Naarm/Melbourne2022 &nbsp;&nbsp; Two Marionettes Collide, Goolugatup Heathcote, Boorloo/Perth2020 &nbsp;&nbsp; First Ten, curated by Tommaso Nevergna-Reed, Rushes, Naarm/Melbourne 2019 &nbsp;&nbsp; Computer shoulders, Centre for Contemporary Photography, Naarm/Melbourne 2018 &nbsp;&nbsp; The matter admits of no explanation, Cathedral Cabinet, Naarm/Melbourne 2017&nbsp; &nbsp; Concrete Air, Blindside, presented on the Federation Square Big Screen, curated by Tamsin Green, Naarm/Melbourne2017&nbsp; &nbsp; Elasticity, c3 Contemporary, Naarm/Melbourne SELECTED GROUP EXHIBITIONS 2027 &nbsp; &nbsp;&nbsp; Melbourne Art Fair, with Haydens, Melbourne Convention Centre, Naarm/Melbourne (forthcoming) 2026 &nbsp; &nbsp;&nbsp; From within the infinite flow, curated by Sebastian Kainey,&nbsp;Counihan Gallery, Naarm/Melbourne 2025 &nbsp; &nbsp;&nbsp; Ellen José Art Award, Bayside Gallery, Naarm/Melbourne&nbsp; 2025 &nbsp; &nbsp;&nbsp; Spring 1883 Art Fair, with Haydens, The Hotel Windsor, Naarm/Melbourne 2024 &nbsp; &nbsp; Characters, curated by Hayden Stuart, Haydens, Naarm/Melbourne&nbsp;&nbsp; 2023 &nbsp; &nbsp; This Might Just Pass The Time, curated by Annabel Brown, Blindside, Naarm/Melbourne&nbsp;2023&nbsp; &nbsp; &nbsp;Spring 1883 Art Fair, with Haydens, The Hotel Windsor, Naarm/Melbourne&nbsp;2023&nbsp; &nbsp; &nbsp;Melbourne Now, National Gallery of Victoria, Naarm/Melbourne 2022 &nbsp; &nbsp; Deakin University Contemporary Small Sculpture Award, Deakin University Art Gallery, Naarm/Melbourne2022&nbsp; &nbsp; &nbsp;rushes, curated by Tommaso Nervegna-Reed, Haydens, Naarm/Melbourne 2022&nbsp; &nbsp; &nbsp;Represented Artists, Haydens, Naarm/Melbourne2021&nbsp; &nbsp; &nbsp;Spring 1883 Art Fair, with Haydens, The Hotel Windsor, Naarm/Melbourne2021&nbsp; &nbsp; &nbsp;Cooking with John, curated by Amalia Lindo + Jacqueline Stojanović, Haydens, Naarm/Melbourne2021&nbsp; &nbsp; &nbsp;The Image Looks Back, RMIT Gallery and PHOTO2021, Naarm/Melbourne2019&nbsp; &nbsp; &nbsp;Hobiennale, in collaboration with Trent Crawford, Black Temple Gallery, Nipaluna/Hobart2018&nbsp; &nbsp; &nbsp;Unrepresented Artists, curated by Hayden Stuart, Haydens, Naarm/Melbourne2018&nbsp; &nbsp; &nbsp;Future State, in collaboration with Samantha Barrow, c3 Contemporary, Naarm/Melbourne2017&nbsp; &nbsp; &nbsp;Receptacle, in collaboration with Maddy Anderson and Max Boland, Junior Space, Naarm/Melbourne 2017&nbsp; &nbsp; &nbsp;Contents, curated by Michelle James, Kingston Arts Centre, Naarm/Melbourne2016&nbsp; &nbsp; &nbsp;Window Xii, Platform/The Dirty Dozen, Naarm/Melbourne PRIZES | AWARDS | RESIDENCIES 2026&nbsp; &nbsp; Finalist, National Photography Prize, Murray Art Museum Albury, Bungambrawatha/Albury&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Finalist, Darebin Art Prize, Bundoora Homestead Art Centre,&nbsp;Naarm/Melbourne&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Finalist, Wyndham Art Prize, Wyndham Art Gallery, Werribee 2025&nbsp; &nbsp; Finalist, Ellen José Art Award, Bayside Gallery, Naarm/Melbourne 2024 &nbsp;&nbsp; La Wayaka Current Residency, Atacama, Chile&nbsp;2022&nbsp; &nbsp; Winner, Digital Art Prize, Goolugatup Heathcote, Boorloo/Perth2022&nbsp; &nbsp; Finalist, Deakin University Contemporary Small Sculpture Award, Deakin University Art Gallery, Naarm/Melbourne2020&nbsp; &nbsp; Constant Ecology Residency, CAVES/Westspace/Kings/Blindside, Naarm/Melbourne2019&nbsp; &nbsp; Research Travel Grant, Monash University, Naarm/Melbourne2018&nbsp; &nbsp; Australian Government Research Training Program Scholarship, Monash University, Naarm/Melbourne2016&nbsp; &nbsp; Lowensteins Arts Management Award, Monash University, Naarm/Melbourne2016&nbsp; &nbsp; C3 Award and Mentorship, Monash University, Naarm/Melbourne SPEAKER EVENTS2023&nbsp; &nbsp; Panelist Speaker, BIFB x Artlink x AI Panel, Ballrat International Foto Biennale, Art Gallery of Ballarat, Ballarat2023&nbsp; &nbsp; Panelist Speaker, Automation and the Arts, ADMS+S Automated News and Media Symposium, University of Sydney, Gadigal/Sydney2023&nbsp; &nbsp; Artforum Lecture, Monash University, Naarm/Melbourne2023&nbsp; &nbsp; Artist Talk, The Ian Potter Centre: NGV Australia, Naarm/Melbourne 2021 &nbsp; &nbsp;Artist Talk, Art Club: Australian Centre for Contemporary Art (ACCA), Naarm/Melbourne2021&nbsp; &nbsp; Panelist Speaker, Photo ideas: Simulation, RMIT Gallery, Naarm/Melbourne COLLECTIONS | ACQUISITIONS National Gallery of Victoria Private Collections in Australia, New Zealand and the United States PROFESSIONAL EXPERIENCE Studio Assistant for Natasha Johns-Messenger,&nbsp;Naarm/Melbourne (current) Studio Assistant for Mikala Dwyer,&nbsp;Naarm/Melbourne (current)Studio Assistant for the John Nixon Estate, Naarm/Melbourne (current) Teaching Associate, Monash University,&nbsp;Naarm/Melbourne (current) Research Associate, Reflecting Society Research Enterprise, Naarm/Melbourne Gallery Assistant, Haydens, Naarm/Melbourne Studio Assistant for John Nixon, Naarm/Melbourne https://amalialindo.com/National-Photography-Prize Sun, 20 Sep 2026 18:55:50 +0000 Amalia Lindo https://amalialindo.com/National-Photography-Prize National Photography Prize2026 Murray Art Museum Albury (MAMA)Albury, New South Wales, Australia Every two years the National Photography Prize offers an opportunity to consider the vital role of photography in contemporary art in Australia. The National Photography Prize brings together artists from across Australia who are developing and challenging photographic language and techniques.The 2026 National Photography Prize finalists include leading Australian artists Alana Hunt,&nbsp;Alex Walker,&nbsp;Amalia Lindo,&nbsp;Arlo Mountford,&nbsp;David Stephenson,&nbsp;JD Reforma,&nbsp;Lisa Stonham,&nbsp;Marian Tubbs,&nbsp;Morgan Hogg,&nbsp;Nathanael Edwards,&nbsp;Paul Knight, and&nbsp;Sarah Rhodes. Click here for more information about the National Photography Prize Images courtesy of&nbsp;Jeremy Weihrauch Image DetailsAmalia Lindo Supernova 1987A (1.6 quintillion kilometres) 2026 Archival inkjet photograph, framed 56 × 105 × 6 cm E 1/5 + 2 AP Amalia Lindo El Tatio (−22.3349, −68.0130) 2026 Archival inkjet photograph, framed 156 × 105 × 6 cm E 1/5 + 2 AP Amalia Lindo La Oscuridad 2025 Single-channel HD video, colour, sound 13 mins 45 secs E 1/3 + 2 AP Amalia Lindo Terraform (Sociedad Química y Minera de Chile:−23.5000, −68.2500) (detail) 2025 Acrylic paint on UV polymer resin, framed in PETG filament and aluminium 40 x 40 x 10 cm E 1/5 + 2 AP Installation image (4-5) National Photography PrizeMAMA2026 <img width="1708" height="2560" width_o="1708" height_o="2560" data-src="https://freight.cargo.site/t/original/i/e7af9b401b186c2c7be5ccee1212bf996a5af1f03286525249980dfe92653f2a/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-1904.jpg" data-mid="252347254" border="0" src="https://freight.cargo.site/w/1000/i/e7af9b401b186c2c7be5ccee1212bf996a5af1f03286525249980dfe92653f2a/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-1904.jpg" /> <img width="4001" height="6000" width_o="4001" height_o="6000" data-src="https://freight.cargo.site/t/original/i/e04873ec432e841b6b6691fa1ed47d960dbc615a05f5aab51a5897a7b8ce9866/20260731_JW_2919-1.jpg" data-mid="252347290" border="0" src="https://freight.cargo.site/w/1000/i/e04873ec432e841b6b6691fa1ed47d960dbc615a05f5aab51a5897a7b8ce9866/20260731_JW_2919-1.jpg" /> <img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/44d363232785ecdc1bf9b2adf9f67ebb524adc3884e43fc646528e3958185b82/Amalia-Lindo--Terraform-Sociedad-Quimica-y-Minera-de-Chile23.5000--68.2500-detail--2025.-NPP26--MAMA.-JW-1883.jpg" data-mid="252347259" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/44d363232785ecdc1bf9b2adf9f67ebb524adc3884e43fc646528e3958185b82/Amalia-Lindo--Terraform-Sociedad-Quimica-y-Minera-de-Chile23.5000--68.2500-detail--2025.-NPP26--MAMA.-JW-1883.jpg" /> <img width="2560" height="1708" width_o="2560" height_o="1708" data-src="https://freight.cargo.site/t/original/i/f838091dd6c1a7ad385aaec48a0b0ad2fd12c685975808deffcca4f42fdc49cc/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-2917.jpg" data-mid="252347256" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/f838091dd6c1a7ad385aaec48a0b0ad2fd12c685975808deffcca4f42fdc49cc/Amalia-Lindo--installation-view.-National-Photography-Prize-2026--MAMA.-JW-2917.jpg" /> <img width="6000" height="4002" width_o="6000" height_o="4002" data-src="https://freight.cargo.site/t/original/i/8cd944eb00a01ba6f82db93f4191e43c8302fce5d7287258dab0c0cb3a7b3b74/20260731_JW_3450-1.jpg" data-mid="252347292" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/8cd944eb00a01ba6f82db93f4191e43c8302fce5d7287258dab0c0cb3a7b3b74/20260731_JW_3450-1.jpg" /> https://amalialindo.com/both-and Tue, 15 Sep 2026 19:56:29 +0000 Amalia Lindo https://amalialindo.com/both-and both/and2026 HaydensNaarm/Melbourne, Australia At its centre is the question of complicity: how to remain critical of systems one is dependent upon, and what it means to make art within that condition. Lindo's earlier practice examined the invisible human labour that sustains digital systems: the dispersed, anonymous workers whose efforts underpin the apparent autonomy of artificial intelligence. both/and extends that inquiry to the environmental conditions underlying those same technologies, drawing on primary research conducted across ten months living and working in the Atacama Desert, Chile.Chile holds the world's largest lithium reserves, concentrated beneath the salt flats and brine fields of the Atacama, the driest desert on the planet. Lithium is the material that makes rechargeable batteries possible, powering everything from smartphones and laptops to electric vehicles, which are increasingly promoted as a solution to fossil fuel dependency. For the Lickanantay communities who have inhabited this landscape for generations, water, wind, minerals, plants, and humans form a single system of interdependence. This understanding of the land stands in direct tension with its accelerating transformation into an industrial resource.The Atacama is one site within a global network of extraction. The exhibition also encompasses the lithium and copper deposits of Western and South Australia and the cobalt mines of the Democratic Republic of Congo, where the social and environmental costs of technological production are concentrated in communities far removed from the consumers they supply.Across sculpture, drawing, video and photography, the grid functions as a shared language within the exhibition: of resource management, geological survey, and the organisation of data into navigable computational space. At the centre of the room, a large gridded perspex installation extends this logic into physical space, functioning as an expanded drawing. In the Terraform wall sculptures, mine site topographies derived from geological survey data are CNC-milled from extruded polystyrene or resin-printed, rendered as tiled, modular forms and encased in translucent 3D-printed frames that recall the exposed casings of early consumer electronics. The Tierra Plana drawings carry their own geometric order. Mineral pigments collected and prepared by hand in the desert, several with a long history in manuscripts and maps, are rubbed into the surface and overlaid with pen-plotted lines derived from geological models. The larger Tierra Plana drawings overlay these mineral markings onto hand-drawn blueprints of Northern Rhodesian copper mines from the 1950s, placing mid-century cartographic draughtsmanship in contact with the three-dimensional outputs of contemporary geological modelling software. What shifts between them is technique; what persists is the reduction of landscape to resource.In her single-channel film La Oscuridad (2025), the grid structure enters the editing itself through the film's split screens and minimap navigation, borrowed from the visual language of game design to abstract drone footage of Atacama lithium operations into navigable, extractable space. Carlos Vega's narration holds a Lickanantay understanding of that same landscape in which such divisions do not exist. Two photographic works, El Tatio (-22.3349, -68.0130) and Supernova 1987A (1.6 quintillion kilometres) draw this arc further. The first documents geothermal activity in the Atacama; the second is a telescopic photograph of a supernova remnant, tracing the origins of the same minerals found below ground to stellar events billions of years prior.both/and does not offer resolution. From stellar formation to extraction site, it holds in view the full arc of these materials, asking the viewer to consider their own place within the systems that continue to erode these landscapes.Click here for interview between Hayden Stuart and Amalia LindoClick here for image details | Courtesy of Haydens Amalia would like to extend her sincere thanks to Carlos Vega and Sandra Flores González for their generosity in sharing the knowledge that helped shape this project. She would also like to thank the La Wayaka Current team—Sey, Paloma, Gabriel, Maca, Victor, and Sofie. A very special thank you goes to Eduardo Seymour for his assistance with the drone footage and for being her translator, tour guide, housemate, and dear friend in San Pedro de Atacama. She would also like to extend her gratitude to Salvador Allende Silva for his assistance with translation and for being a trusted travel companion throughout her time in South America. She is deeply grateful to Dr. Dean Schrieke for his contribution to the exhibition and Rohan Schwartz for the many conversations that shaped her thinking. La Oscuridad was made possible by the generous support of the Ellen José Memorial Foundation and Bayside Gallery. This project would not have been possible without the tireless support of Hayden Stuart, who has been exceptionally generous in extending his time, space, and expertise to the production of each of the works. 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https://amalialindo.com/Characters Wed, 05 Jun 2024 05:55:15 +0000 Amalia Lindo https://amalialindo.com/Characters Characters2024 Curated by Hayden Stuart Haydens Melbourne, AustraliaArtists: Mira Gojak, Agatha Gothe-Snape, Julie Irving, Amalia Lindo, Kerrie Poliness, Mia Salsjö “Traversing diverse themes such as automatism, connectivity, performativity, and translation, Characters visualises ideas as material. Taking form in a variety of mediums, these drawn works are characteristic of fixed points in time. What we see is a trace, or an artifact of a specific culmination of events, and in some cases the act of interpreting this residue is the focus of interest. What is seen is the result of a sustained engagement in drawing as a method of communicating beyond language.Sometimes it is the outcome of an event, a symbol of linguistic expression, or the instruction for noise echoing through space. At other times it is the openness and unlimited possibilities of consciousness reflected through nature, or the creation of a system of order in which to understand the chaos. It is also the culmination of shared experiences, mediated through artificial conglomerations, created from the gathered thoughts of an endless stream of data. Here, drawing’s potential is limitless.”Click here for exhibition review by Vanessa Francesca at Artshub Image Details Installation Image (1-4) Characters Haydens 2024 Amalia Lindo August 2022-23 CNC trace monotype and solvent transfer on Hereford book paper, framed in laser cut anodised aluminium 85 x 60 x 6.5 cm Amalia Lindo February 2022-23 CNC trace monotype and solvent transfer on Hereford book paper, framed in laser cut anodised aluminium 85 x 60 x 6.5 cm Amalia Lindo May 2022-23 CNC trace monotype and solvent transfer on Hereford book paper, framed in laser cut anodised aluminium 85 x 60 x 6.5 cm Images courtesy of Haydens <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8f404dac861d7ddff6f42f76d2a14d9732277833fa57d3c73e40456335b6b7df/Characters_Install-05.jpg" data-mid="212342683" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/8f404dac861d7ddff6f42f76d2a14d9732277833fa57d3c73e40456335b6b7df/Characters_Install-05.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f345443f50c2629a6696d17b613edd7d4f024a011cb023a2a47389e2fd4a652e/Characters_Install-01.jpg" data-mid="212342682" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/f345443f50c2629a6696d17b613edd7d4f024a011cb023a2a47389e2fd4a652e/Characters_Install-01.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a94ce4021616fb75861df79cd2b3142c614d41eb0672a0f96003dbf516c52274/Characters_Install-14.jpg" data-mid="212342690" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/a94ce4021616fb75861df79cd2b3142c614d41eb0672a0f96003dbf516c52274/Characters_Install-14.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/09e31500b53496969257b8abeadc003fe10fbb425781be42fa79333e3a66cd1e/Characters_Install-08.jpg" data-mid="212342689" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/09e31500b53496969257b8abeadc003fe10fbb425781be42fa79333e3a66cd1e/Characters_Install-08.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/7cf98bc39f9b531a537310b5236c1d4ed77c962c90e68314fbd25ab05baf0aed/Amalia-Lindo_August_2022-23_CNC-trace-monotype-and-solvent-transfer_85-x-60-x-6.5-cm.jpg" data-mid="212345003" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/7cf98bc39f9b531a537310b5236c1d4ed77c962c90e68314fbd25ab05baf0aed/Amalia-Lindo_August_2022-23_CNC-trace-monotype-and-solvent-transfer_85-x-60-x-6.5-cm.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/a46cfc4b7c00a0237ebdd881a5776627f8b910e086823177633119c02bbcc5ba/Amalia-Lindo_February_2022-23_CNC-trace-monotype-and-solvent-transfer-Hereford-book-paper_85-x-60-x-6.5-cm.jpg" data-mid="212345004" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/a46cfc4b7c00a0237ebdd881a5776627f8b910e086823177633119c02bbcc5ba/Amalia-Lindo_February_2022-23_CNC-trace-monotype-and-solvent-transfer-Hereford-book-paper_85-x-60-x-6.5-cm.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/3a8a8522eed7a3ea2a8c7ca8e4eebceabebc7990444f7942f7ba0dd1fccd6c0f/Amalia-Lindo_May_2022-23_CNC-trace-monotype-and-solvent-transfer-Hereford-book-paper_85-x-60-x-6.5-cm.jpg" data-mid="212345005" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/3a8a8522eed7a3ea2a8c7ca8e4eebceabebc7990444f7942f7ba0dd1fccd6c0f/Amalia-Lindo_May_2022-23_CNC-trace-monotype-and-solvent-transfer-Hereford-book-paper_85-x-60-x-6.5-cm.jpg" /> https://amalialindo.com/Before-Now Thu, 15 Feb 2024 08:14:09 +0000 Amalia Lindo https://amalialindo.com/Before-Now Before Now 2023 Composite: Moving Image Agency and Media Bank Melbourne, AustraliaWith thanks to Channon Goodwin for their support of the project. Before Now presented a selection of four films produced between 2016 and 2020. This selection includes: Distinguishing Features (2016), A portrait of a place I’ve never been (2017), Computer Shoulders (2019) and Two Marionettes Collide (2020). Each of the films in this series has been made using video material sourced from a wide range of analogue and digital archives, and has been compiled using algorithmic or instruction-based methods. These works represent the progression of Lindo’s broader practice, which examines the effects of automated technologies, such as artificial intelligence (AI), on human labour, behaviour, and decision-making. Previously exhibited as multi-channel video installations, Before Now presented this selection of work for the first time as single channel films. Click here to purchase the Before Now catalogueImage Details A portrait of a place I've never been2018Single channel video, 16:9, colour, sound 6 mins 10 sec Two Marionettes Collide 2020 Single channel video HD video, colour, sound 6 min 9 sec Sound design by Dean Schrieke Distinguishing Features2016Single channel video, 4:3, colour, sound3 min 16 sec Computer Shoulders 2019 Two channel HD video, 16:9, colour, sound5 mins Images courtesy of Christo Crocker <img width="2085" height="1390" width_o="2085" height_o="1390" data-src="https://freight.cargo.site/t/original/i/41623fa5aad958a8ff573e0d36f00d9693c20e64362534a078784960b83bb3f0/AL_Composite-2.jpg" data-mid="204683854" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/41623fa5aad958a8ff573e0d36f00d9693c20e64362534a078784960b83bb3f0/AL_Composite-2.jpg" /><img width="1701" height="1134" width_o="1701" height_o="1134" data-src="https://freight.cargo.site/t/original/i/5f354735fa6f4a9673395648e28feb69f240a0c78cbb002e473251444aef727a/AL_Composite-7.jpg" data-mid="204683856" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/5f354735fa6f4a9673395648e28feb69f240a0c78cbb002e473251444aef727a/AL_Composite-7.jpg" /> <img width="2085" height="1390" width_o="2085" height_o="1390" data-src="https://freight.cargo.site/t/original/i/1e524b7ca9099479ec9f3057ae6298ab11940478d7d6c27b06c142aca9c9e913/AL_Composite-1.jpg" data-mid="204683858" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/1e524b7ca9099479ec9f3057ae6298ab11940478d7d6c27b06c142aca9c9e913/AL_Composite-1.jpg" /><img width="1701" height="1134" width_o="1701" height_o="1134" data-src="https://freight.cargo.site/t/original/i/3d49c5313d2d68f37a0f186170678c75495d824575c633d44d6c22bf0cf28d25/AL_Composite-6.jpg" data-mid="204683860" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/3d49c5313d2d68f37a0f186170678c75495d824575c633d44d6c22bf0cf28d25/AL_Composite-6.jpg" /> <img width="2162" height="1441" width_o="2162" height_o="1441" data-src="https://freight.cargo.site/t/original/i/75ac73f0c5847745c7fb9dacc18a6932a8050835219101a23559a5bd14691310/Composite---07.12.2023-028.jpg" data-mid="204683849" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/75ac73f0c5847745c7fb9dacc18a6932a8050835219101a23559a5bd14691310/Composite---07.12.2023-028.jpg" /><img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/8a20ff7c68af193a48011a36abf2e65243df3c6d33239480b60be04302989263/AL_Composite-4.jpg" data-mid="204683864" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/8a20ff7c68af193a48011a36abf2e65243df3c6d33239480b60be04302989263/AL_Composite-4.jpg" /><img width="1701" height="1134" width_o="1701" height_o="1134" data-src="https://freight.cargo.site/t/original/i/78f987d50fcef3f03b6190924d36c357d3f7d79fac9c95c93b7c414c1f901d3d/AL_Composite-5.jpg" data-mid="204683862" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/78f987d50fcef3f03b6190924d36c357d3f7d79fac9c95c93b7c414c1f901d3d/AL_Composite-5.jpg" /> <img width="1417" height="945" width_o="1417" height_o="945" data-src="https://freight.cargo.site/t/original/i/597acf6980807ed508d593c25d6ba837fb196130e98c6e88bb9e403f880aa58f/AL_Composite-3.jpg" data-mid="204683866" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/597acf6980807ed508d593c25d6ba837fb196130e98c6e88bb9e403f880aa58f/AL_Composite-3.jpg" /> https://amalialindo.com/This-Might-Just-Pass-the-Time Thu, 15 Feb 2024 08:14:11 +0000 Amalia Lindo https://amalialindo.com/This-Might-Just-Pass-the-Time This Might Just Pass the Time2023 Curated by Annabel Brown Blindside Melbourne, AustraliaArtists: Christina May Carey, Amalia Lindo, Marcus Ian Mckenzie,&nbsp;Aaron Christopher Rees “This project takes the film theorist’s Leo Charney’s notion of the ‘drift’ as a point of departure to build upon this notion and to work around this central question: how does the drift materialise in today’s technological disposition? Charney envisions the drift as an “ungovernable, mercurial activity,” teeming with possibilities and heterogenous in tone, drift enables one to sense the vertigo-laden uncertainty of the present. Following this philosophical mediation, drift splits along two tracks as both an ontology and an epistemology. In its ontological becoming, drift traces the relative emptiness of the everyday as "presence irrevocably becomes absence." Drift as epistemology attempts to capture the mere feeling of time - the perception of time's flight and fragmentation - giving shape to what is essentially formless. In mutual reverberation, this project explores the drift as a pervasive atmosphere of information and our ability to process this with our own internal rhythm of interpretation. This exhibition attempts to specify this drift with greater accuracy, to give a sense of this drift happening as something tactile, as a condition, pacing, as something enfolding in everything else. In our technological disposition, this drift feels like the simultaneous dissolution of presence in wake of the overwhelming presence of everything.”Click here for exhibition essay by Annabel Brown Image Details Installation Image This Just Might Pass the Time Blindside 2023 Amalia Lindo (right) The Cloud is of the Earth (v.3) 2021Single-channel video installation, audio, 17”, liquid-crystal display panel, LCDcontroller board, stainless steel tube, acrylic Perspex 94 x 90 x 70cm 8 min 26 sec Aaron Christopher Rees Highrise 2023 Steel, UV Ink on Glass 1829 x 610 x 160mm Christina May Carey, Moon II 2023 HD video, iPad, custom steel viewfinder Marcus Ian Mckenzie I Can’t Even See The Lines I Used To Read Between 2022 Audio, 30-minute loop (soundscape) Images courtesy of Aaron Christopher Rees,&nbsp;Sebastian Kainey, and Jiayi Huan <img width="1125" height="750" width_o="1125" height_o="750" data-src="https://freight.cargo.site/t/original/i/fbc367f355e42d4fdb04337db1b8aae377a1b9abd09a612b45118bcfa47fc6c1/BS_7.JPG" data-mid="204683886" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/fbc367f355e42d4fdb04337db1b8aae377a1b9abd09a612b45118bcfa47fc6c1/BS_7.JPG" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/ccb177fec58da55a3399857465103abdf30a98ad9683a5b9270ad520e8e6baf4/BS_4.jpg" data-mid="204683888" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/ccb177fec58da55a3399857465103abdf30a98ad9683a5b9270ad520e8e6baf4/BS_4.jpg" /><img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/fc1cf8c411f10b0a62d8f086c7effebc60f3aff747f539351198c4b4aee49479/BS_1.jpg" data-mid="204683893" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/fc1cf8c411f10b0a62d8f086c7effebc60f3aff747f539351198c4b4aee49479/BS_1.jpg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/1242e46c07c9632c398c01727a0922f34fbfe68723d1bc748da5663da9d32fc8/BS_3.jpg" data-mid="204683890" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/1242e46c07c9632c398c01727a0922f34fbfe68723d1bc748da5663da9d32fc8/BS_3.jpg" /> <img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/7c27a67913ae9d23d85d84ecefd03f23c6b8a9adda7f5baa715463cd60ab1800/BS_6.jpg" data-mid="204683892" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/7c27a67913ae9d23d85d84ecefd03f23c6b8a9adda7f5baa715463cd60ab1800/BS_6.jpg" />